In the Gardiner’s lobby, Pleasure Dome will screen Frances Leeming’s iconic The Orientation Express in an installation format. Her pop art animations are hitched to a feminist train of unending wit and corporate takedowns.

Upstairs, Younger Than Beyoncé Gallery has devised Smash The Patriarchy; a party engaging with enragement. Partygoers are encouraged to scream, shout, dance wildly and support each other’s righteous anger at the patriarchy. The party includes performances by Ronnie Clarke and Annie Wong which explore rage, empathy, and in the case of Wong’s We’re Winning So No Comment, multiple perspectives on intersectional feminism. Films by Kelsey Whyte depict the hellish discomfort of the model/actress in a dystopian photo shoot that invoke similar sensations of unease as in Ono’s films. These artworks spark outrage, but also encourage empathy and listening between different experiences and forms of oppression within feminism, and encourage conversation about how feminism has changed since Ono’s films were released in the 1970s.